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Martin Robbins Martin Robbins i(A151440 works by)
Gender: Male
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2 form y separately published work icon If Maria Dies, The World Stops Martin Robbins , ( dir. David Pulbrook et. al. )agent Melbourne : Crawford Productions Network Ten , 1972 Z1912625 1972 single work film/TV crime

The script held in the Crawford Collection in the AFI Research Collection includes the following character notes (excluding regular characters):

VINCENTE GARELLI: Early 20's. Typical Sicilian. Passionate and strong willed. Drives.

MARIA GARELLI: 20. Italian. Mature for her age. (6 months pregnant).

LEN: Middle twenties. Vincente's friend. Drives.

BILL THOMAS: 40-50. Drinks heavily. Lazy. In debt. Likes women. Drives.

ELSE THOMAS: 42-50. Drinks, because of her husband. Drives.

JACK WILMOTT: 50's. Vincente's boss. Kind man. Thinks a lot of Vincente. Drives.

MRS. WILMOTT: 50's. Like her husband.

FATHER DAWSON: Catholic priest.

JOE FLETCHER: 30-40. Suspect. Has been involved in similar accident, but not convicted. (Lack of evidence).

DR. BEDI: As established.

NURSE:

UNIFORMED CONSTABLE: Young.


2 form y separately published work icon Maybe She'll Come Tomorrow Martin Robbins , 1971 (Manuscript version)x402473 Z1934052 1971 single work film/TV crime

The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'FRED HAYES: Early 20's. [Note: '20' is written in blue ink above the character's age.] University student from impoverished home. Ardent political and religious activist but unpopular with most other students.

'NORM HAYES: Mid 50's. Has affection for wife and children but can be brutal and sadistic.

'MARGE HAYES: Mid 50's. Norm her second husband. She still suffers pangs of guilt as a result of having sent her adopted son back to a home at the age of six.

'GAIL HAYES: About 20. [Note: '19' is written in blue ink above the character's age.] Long hair, fairly attractive. Warm-hearted - has problem of her own but sympathetic towards her brother Fred, and "stepbrother" Ken.

'KEN WEBSTER: Aged 28. [Note: '24' is written in blue ink above the character's age.] Marge's adopted son by former marriage. Rejected by her after her second marriage. Of below-average intelligence, this rejection has left its mark.

'MARTIN FOSTER: About 20. Student friend of Fred, financially better off. Gail's boyfriend. Physically strong, but morally weak and vacillating.

'MRS. FOSTER: Late 40's. Martin's mother. Socially active, she's ceased to exhibit more than a mild interest in her son.

'BILL SMYTHE: About 20. Short, seedy youth. Ken's mate.

'FATHER REGAN: Mid 40's. In charge of boys' home. Irish?

'MR. JARVIS: Mid 30's. Swimming-pool manager.

'CHARLES WEBSTER: Approx. 54 years. Pilot. Bitter about separation from wife.

'MRS. METCALFE: Late 60's. Boarding-house landlady.

'MR. RYDER: Mid 40's. Manager of Starlight drive-in.

'JACK SMITH: Attendant, Starlight drive-in.

'MECHANIC:

'MIDDLE-AGED WOMAN:

'2 POLICEMEN'.

1 2 form y separately published work icon Matlock Police Terry Stapleton , Ian Jones , Everett de Roche , Ian Jones , Terry Stapleton , Keith Hetherington , Patrick Edgeworth , Tom Hegarty , Douglas Tainsh , Graeme Koetsveld , Peter A. Kinloch , Sonia Borg , Don Battye , Robert Caswell , George T. Miller , Gwenda Marsh , Cliff Green , Vince Moran , Luis Bayonas , David William Boutland , Phil Freedman , Keith Thompson , Denise Morgan , C.F. Barnes , Robert Bruce , Alan Cram , Vern Perry , Martin Robbins , John Dingwall , George Mallaby , Jim Stapleton , Simon Wincer , ( dir. Colin Eggleston et. al. )agent 1971 Melbourne Australia : Crawford Productions Network Ten , 1971-1976 Z1638563 1971 series - publisher film/TV detective crime

The Matlock Police series (originally simply titled Matlock) was commissioned from Crawford Productions by ATV-0, in response to the popularity of rival-network police dramas such as Homicide and Division 4. Crawford's was initially reluctant to create another police series, but ATV-0 pressured the company for some time. Eventually, Ian Jones and Terry Stapleton devised the concept of a regional (Victorian) police series to provide viewers with something different. The more relaxed atmosphere of the country-town setting also allowed the writers to delve into the private lives of the main characters, rather than focusing heavily on big-city organised crime. In this respect, the series was situated somewhere between Homicide/Division 4 and Bellbird. The series did, however, cover typical rural policing, including such issues as break and enters, domestic issues, itinerant workers, brawls, petty crime and robberies, road accidents, the occasional homicide, and cattle rustling. On other occasions, the Matlock police also assisted Melbourne police in locating criminals on the run (among other problems). The idea behind the show was to reflect the causes of crime in a small community and show the effects on both the community and the officers themselves.

The fictional town of Matlock (loosely based on Shepparton in Victoria) is situated inland on the Central Highway, approximately 160 kilometres north of Melbourne. Although the town's population is only seventeen thousand, this increases to around seventy-five thousand when the district is included. The Matlock Police Station is typical of a Victorian country town, with a Uniform Branch and a Criminal Investigation Branch (CIB). The CIB is headed by Detective Sergeant Vic Maddern, who grew up in the Matlock district and is an accomplished bushman. Second in command is Detective Allan Curtis, aged in his mid-twenties. Previously from Melbourne, Curtis has just been sent to his first country posting (against his will) when the series begins. Head of the Uniform Branch is Sergeant Bert Kennedy, an Englishman who migrated to Australia in 1950. A thorough but also easy-going man with a good sense of humour, Kennedy is married to Nell and enjoys the country life in Matlock, so much so that he has knocked back promotion to avoid moving to Melbourne. Several constables are attached to the Uniform Branch, but the most prominent is a motorcycle cop, Constable Gary Hogan, who performs a wide variety of duties. Hogan is about thirty, a friendly, easy-going person who grew up in the country and is always willing to help in whatever work is going.

2 form y separately published work icon The Terrible Stranger Martin Robbins , 1970 (Manuscript version)x402475 Z1934103 1970 single work film/TV crime

The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'BEN DAVIS. A small, repressed man in his early 40s. He dresses smartly, and in fact gives the impression that he is neurotically obsessional about personal tidiness, hygiene. All his life he has been dominated by his mother - but in recent years the enormous strain of repressing normal instincts has begun to tell. He is hesitant, tortured by indecision, jumpy. His demeanor is an uneasy blend of hostility and self-apology. Ben's relationship with his mother is the key to his character. He is, apparently, cowed and quiet - but just beneath the surface there burns a resentment of her smothering dominance. This resentment (channeled at first into attacks on girls) comes into the open in the final scene when, infuriated by her selfishness, he attacks the mother herself.

'MRS DAVIS. Ben's mother. A widow, about 65. A domineering, almost masculine type, with an overlay of "kindly" femininity. She would, doubtless, be president of the local bowling club. Confusing cause with effect, she doubts her son's ability to manage his own affairs. She doesn't realise that her own smothering role of forbidder-of-sex has been the cause of his troubles. Her relationship with Ben is cloying; her "love", from the start, hard to believe in. She plainly values him as a possession - almost as a human doll - rather than as a person.

'JANET STEPHENS. Group patient. A sweet-natured, but quiet and diffident girl. She's seeing the psychiatrist about her depressions. She is very warm and empathetic - especially towards Ben, whose miseries she seems, to some degree, to understand. She has no romantic interest in Ben (no girl would) but she offers him wholehearted help, as she would any unfortunate.

'DR. GEORGE COUSINS. Psychiatrist. A cool, detached analyst of the Freudian school. In therapeutic sessions, he allows his patients to do the talking - only offering guidance when absolutely necessary, in a quiet voice uncoloured by emotion. This, anyway, is how we first see Cousins. But gradually, as his doubts about Ben grow deeper, he loses some of his assurance, becomes rather more of a self questioner.

'SALLY COUSINS. Doctor Cousins' wife. About 30. A sophisticated dresser, very pretty, self-assured and in love with her husband. She's a fine arts graduate, met and married Cousins while both were students. As a doctor's wife she's learned to live with the unexpected, but she shares her husband's fears about Hill. She has a feminine radar that detects trouble from a distance, and she senses, from the first phone call, that something is very wrong.

'TOM HILL. Merchant seaman. An Englishman, about 30, Yorkshire if possible but Cockney would be OK. A defiant, shifty tough, who's been in constant trouble with police. He knows his way around police stations, and gives the impression, under questioning, that he's playing a game at which he is long-practised. But, though shrewd, he's not, fundamentally, very intelligent - and becomes confused when the detectives drive him into a logical corner. Lying comes so naturally to this man that few of his statements (even if they are true) have the ring of truth.

'EMILY WYKEHAM. Group patient. A rather drear, middle-aged housewife, who is seeing Dr. Cousins about her nervous headaches. From her quietly naggy, negative behaviour she gives the impression that her family probably suffer more than she does.

'PAUL RANDALL. A student, about 19. Dresses in jacket and jeans - but not too way out. He is seeing Cousins because of inability to concentrate on his studies. He's exaggeratedly aggressive - ready to take offence at anything. Well-spoken, son of a North Balwyn businessman.

'ROWER. Well-educated. Old Grammarian type. Stuffy, square, but humane - and shocked to come into contact with something (the murder) so remote from his experience. Age about 35.

'SHOP OWNER. Conservatively but expensively-dressed with a rather extravagant manner. He almost sends himself up - gives the impression that he observes his own behaviour with detached cynicism.

'UNIFORMED POLICEMAN. Gives chase to Tom Hill for traffic offence.

'MR CARSON. Ben's boss. A large, rather overbearing man about 45. He holds Ben in very low regard, but, creditably, does try hard to overcome his dislike and show kindness.

'PROFESSOR TODD. Retired academic, about 70. Extremely well-spoken, still bright and youthful in demeanor. He was Dr. Cousins' mentor, and thinks highly of him.

'LANDLADY. About 55. A rough, faintly slatternly, but reasonably kindly woman. She gives the impression that she wouldn't put up with nonsense from anyone, either her tenants or the police.'

1 7 form y separately published work icon Homicide Sonia Borg , Vince Moran , Phil Freedman , Luis Bayonas , Everett de Roche , Peter A. Kinloch , Ted Roberts , Roger Simpson , Charles E. Stamp , Margaret Kelly , Colin Eggleston , James Wulf Simmonds , Keith Hetherington , Michael Harvey , Cliff Green , Patrick Edgeworth , James East , John Drew , John Dingwall , Alan Cram , Ian Cameron , John Bragg , David William Boutland , Jock Blair , Don Battye , Fred Parsons , David Minter , Monte Miller , Ron McLean , George Mallaby , Ian Jones , Maurice Hurst , Barry Hill , Max Sims , Keith Thompson , David Stevens , Amanda Spry , Peter Schreck , Martin Robbins , Della Foss Pascoe , Bruce Wishart , ( dir. Bruce Ross-Smith et. al. )agent Melbourne : Crawford Productions , 1964-1975 Z1813076 1964 series - publisher film/TV crime detective

Running for twelve years and a total of 510 episodes, Homicide was a seminal Australian police-procedural program, set in the homicide squad of the Victoria Police. According to Don Storey in his Classic Australian Television, it represented a turning point for Australian television, prompting the development of local productions over the purchase of relatively inexpensive American dramas. Indeed, Storey quotes Hector Crawford as saying that his production company intended three outcomes from Homicide: demonstrating that it was possible to make a high-quality local drama series, counteracting criticism of local performers, and showing that Australian audiences would watch Australian-made dramas.

As Moran notes in his Guide to Australian TV Series, the program adopted a narrative structure focusing on crime, detection, and capture, rather than on character studies of the lead detectives. The early episodes were produced by a small crew (Storey notes that the crew was frequently limited to four people: cameraman, grip, director, and assistant director), requiring some degree of ingenuity to achieve a polished result (including, in some cases, the actors performing their own stunts). However, the program received extensive support from the Victoria Police (who recognised, in its positive portrayal of police officers, a valuable public-relations exercise) and, as its popularity grew, from the public.

The program's cast changed extensively over its twelve years on the air, though it remained focused on a small group of male detectives, with the inclusion of irregular characters such as Policewoman Helen Hopgood (played by Derani Scarr), written on an as-required basis to reflect the involvement of women in the police force. In Moran's words, 'The other star of Homicide was the location film work. These ordinary, everyday familiar urban locations were what gave the series a gritty realism and familiarised audiences with the shock of recognition at seeing themselves and their milieus on air'.

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